NARRATIVE

Dead Battery – Joe Leigh

Tex: The Passive Aggressive Gunslinger – Brian Sawyer

Recipe for Disaster – Brett Vail

Stealing You Blind – Al Ceraul0

Eulogy – Sarah E. Nagy

To Play The Game – Benjamin Zobel

Cock Fight – Sigalit Liphshitz

Souvenir – Yui Takamatsu

Grief – Hadar Friedlich

Operation YY – Oded Lotan

Pleasureland – Bryan Poyser

Anderson – FSU Film

Strangers – Kathrin Resetarits

The Georgia Peach Boy – Michelle Eisenreich

Thinking Out Loud – Daniel Glasser

Rattus Maximus – FSU Film

8 Ball – Avner Matsliah

Lector – FSU Film

Soulmate – Chel White

Mallcops!  A Love Story – Geoffrey Chadwick

Everything in Between – Fatimah Tobing Rony

Sweet Joe, An American Hero – FSU Film

Lunch at the Yellow Moon – Casey Dexter

SuperDoll – Julia Halperin

DOCUMENTARY

Discharge – NOW – Deni Blaise

Team Red – Ann Alter

Art as Experience – Robert L. Hahn

Riding the Tiger – Kristine Samelson, John Haptas

Grandma Fern – Brent Notbohm

I Could Have Been Human – Barbara Medajska

It’s Hard to be an American – Joseph HIlsenrad

Spondiloza – Anita Talevski

Nightlight – Alvergue Anne

Transitions – David Kenneth

OTHER

Blind Light – Pola Rapaport

Portraits in Moonshine and Sunlight – David Gramly

Take 2 – Marcuad Olivier

DANNY LOTNICK

Danny Plotnick earns a living as the Director of Seminars for the Film Arts Foundation in San Francisco. The rest of his time is spent maintaining his reputation as “the King of Super-8” in the underground film community.

Over the past fifteen years, Danny has completed 17 films on the much-maligned Super-8 film format and is often called upon for his expertise in the area. Back in the days when Super-8 Sound film was available, Plotnick was shooting featurette length movies in a week, editing them by hand in his kitchen, and exhibiting them himself at places like The House of Low Self-Esteem, Bloodshot Cafe, The Knitting Factory and the Howling Frog Cafe.

When Danny isn’t malting movies of his own, he can be found teaching teenagers how to shoot and edit their own Super-8 films at Bay Area high schools and the California State Summer School for the Arts. He also travels several times a year to exhibit his films in a variety of underground film festivals. He has just recently completed his second tour of Holland and Germany covering nine cities in ten days.

His delightfully demented Pipsqueak Pfollies won the Banana Slug Award for Surrealism at the 29th RIFE Danny has recently switch to 16mm film, which he jokingly refers to as “the next dying format.” Swingers Serenade (1999) is a tawdry interpretation of an amateur movie script, found in a1950’s home-movie magazine and was awarded the Juror’s Choice Award by Alexander Payne at the 33rd RIFE.

The Humboldt International Film Festival has always been a receptive venue for Danny’s films. We are excited to have him here as a Juror for the 34th HIFF.

WALTER UNGERER

Walter Ungerer is one of the most original talents in today’s independent cinema. He has been creating experimental films for over three decades and continues to explore new techniques in filmmaking.

Mr. Ungerer first established himself as a filmmaker in the 1960’s with several short films consisting of abstract patterns, shapes and colors hand-painted directly onto the surface of the film and intercut with photographed images and sound collages. Meet me, Jesus ( 1966) gained national attention at the Ann Arbor Film Festival and was enthusiastically included in its national tour. In 1969, Walter created Introducution to Oobieland and Ubi Est Terram Oobiae? the first two parts of a four part series utilizing the same experimental techniques.

In 1976, Walter established Dark Horse Films, an independent production company based in his adopted home of Montpelier, Vermont. At this time Walter began to experiment with narrative structure, movement and cinematography. He produced four feature films The Animal (1976), The House Without Steps (1979), The Winter There Was Very Little Snow (1982), and Leaving the Harbor (1991), each of which have been recognized at international film festivals. The Animal was screened at the Florence Film Festival and was described as “pure cinema, a masterpiece of existentialism.”

These days Walter is experimenting with the possibilities of digital editing and graphic design programs such as Media 100, After Effects, Photoshop and Peak. He says that working with computers has opened up whole new areas of exploration which take him back to his earlier days of drawing and painting. We are glad to have him as a juror for the 34th HIFF.